What first attracted you to the theatre?
K: Theatre is alive and it is life in so many forms, it is right there in front of you and it is something you just can’t get from anything else. Theatre gives us a freedom to be imaginative and creative and to be ourselves

D: Starting with non-professional groups in Hampshire as a teenager, theatre was fun escapism with like-minded people. After a few years' hiatus I got back to it in my mid 20s teaching and acting and have not looked back! I love the process of it, the development of ideas and rinsing everything possible out of a script.

What is your opinion of Off West End theatre, in general?
K: I think off west end theatre gives massive opportunity to anyone wanting to share their work and ideas. It provides freedom for artists to create and opportunities to grow and collaborate. I think the integration between West End and off-west end could be so much better because what Off West End theatre provides can be truly stunning work.

What was the most inspiring production you have ever seen? Why?
K: The most inspiring show I saw was Every Brilliant Thing by Duncan Macmillan. It was a one-man show about depression but probably one of the funniest plays I had seen. It allowed for depression to be eliminated from its stigma and promoted issues surrounding mental health whilst being a hugely entertaining production.

D: I absolutely agree with Kim here, I first saw this at the Edinburgh Fringe and it was spell-binding.

What piece of work are you the most proud of?
K: I am most proud of my recent play, Growing Pains, which I wrote during my time at RADA. It's a one-woman play about the struggles of adolescence and aims to bring that exciting combination of feel good entertainment with thought provoking moments. It is roughly based on my childhood in the hope of inspiring others to realise it's ok to feel different, or to struggle with growing up as I think most adults forget that.

D: This is difficult to answer, like asking which of your children you prefer! After Miss Julie was special for the depths we found with the cast, and Reduced Shakespeare for the madness of the backstage choreography in order to keep the cast of three supported during the shows.

What things in your personal life do you draw upon when you direct?
K:I have suffered with mental illness, and am someone who always wants everyone to feel safe because I have not always felt that way. For actors especially, who may feel particularly vulnerable doing what they do, I like to ensure everyone in the room feels they are in a safe space where they can feel secure and that the process is as collaborative as possible.

D: All shows are different but for plays such as the Frontier Trilogy I like to draw out real emotions. It must be real, and I like to draw on emotions that the audience will resonate with – for me that creates a true connection.

Are there any actors/actresses you would like to direct?
K: I would love to direct Ian McKellen just to watch him act without needing any direction whatsoever! It would be amazing to work with Peter Dinklage or Carey Mulligan, both of whom are so naturalistic in their acting, it is the subtleties they bring which I fall in love with.

D: So many to choose but some that I really respect include Patrick Stewart and Ian McKellen. I simply love their voices and love the performance that it creates.

Which director do you respect most on OffWestEnd at the moment?
K: I loved Veronica Coburn’s work on Eggsistentialism by Joanne Ryan at the Arcola. I thought that was brilliant for its easiness and hilariousness.

Can you tell our readers about what you’re doing now?
K: I am currently directing one part of the three-part Frontier Trilogy by Jethro Compton. I am directing The Rattlesnake's Kiss, which is very exciting, and I can't wait for audiences to see it. What I love most about the play is how easy watching it is. This play brings you right back to the essence of theatre, which for me is all about enjoying the entertainment and getting sucked into a thrilling story!

D: I am currently directing two parts of the three-part Frontier Trilogy by Jethro Compton (Blood Red Moon and Clock Strikes Noon) . They are both so different and need such different energy. The plays are so well written, but I love that there is still room for interpretation and true development of the characters. They are great stories with subtle links that really keeps the audience guessing.